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BY S. D. HUMPHREY
FIFTH EDITION
The endeavor has been to point out the readiest and most
approved Methods of Operation, and condense in its pages;
as much practical information as its limits will admit.
An extended Preface is unnecessary, since the aim and scope
of this work are sufficiently indicated by the title.
CONTENTS
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
CHAPTER I.
There is a general tendency with beginners to slight this operation; hence the
necessity of adopting a system which precludes the possibility of doing so.
During many years' study and practice in the art, I have tried numerous
methods and substances for the better accomplishment of the end in view,
and have finally settled upon the following, as being (so far as experience
allows me to Judge) the modus operandi, best suited to all circumstances;
under no condition would I approve of a method less rigorous or precise.
The operator being provided with a bottle of finely prepared rotten stone,
cover the mouth of the bottle with a piece of thick paper, this perforated
with a pin so that the rotten stone can be dusted on the plate.
Fasten the plate on the holder, take the rotten stone (Becker's can always
be depended upon), and dust on lightly until the surface is freely covered;
now drop on the plate's surface a few drops of an alcoholic solution.*
Care should be observed to keep the patch wet with the alcoholic
solution forming a paste on the surface of the plate;
the motion of the hand should be brisk and free, not hurried,
and the pressure about equal to that of a pound weight.
When the cotton is disposed to adhere to the plate, and slip
from under the finger, spread the fore and middle fingers
a little apart, then pressing down, bring them together
in such a manner as to form a fold in the cloth between them,
by which means you will hold it perfectly secure.
Avoid wetting the fingers, and should they perspire, wipe them often,
as the moisture penetrating the cotton and coming in contact with
the plate, would cause streaks it would be difficult to remove.
I will here remark that many operators use much more cotton flannel than
there is need of. I have found in my experience that a single patch,
about one and half inch square, will be better for cleaning a number
of plates than a new piece for every plate. This is the case for the wet,
and for the dryrubbing two or three pieces will be found to answer.
Thus with four or five cloths a dozen plates may be prepared.
In the morning, before using the buffs, brush both as clean as possible,
in order to free them from dust; then with the blade of a pair of shears,
held perpendicular, rub the buffs from end to end; then knock them
both together in order to free them from all dust or other substances,
occasionally exposing them to the sun or to the fire.
With one of the buffs (reserving the finest and softest for the last
operation), powder its face with fine rouge and brush off slightly,
leaving only the finest particles in it. Every operator should have
two plate-holders; one for cleaning and one for buffing the plate;
for when using only one, the rotten stone is liable to get on the buff
and scratch the plate.
Rest the fingers of the left hand on the back of the buff,
near the farther end, with about the same pressure as in cleaning,
while with the right you bear on the handle to correspond,
and give the buff a free, easy, horizontal motion, passing it
very nearly the whole length over the plate each time.
Continue this operation in such a manner that the plate will on
all parts of its surface have received an equal amount of polish.
This buff once well filled with polish, add but little after,
say a small quantity once in two or three plates.
The polish as well as the buffs must be kept perfectly dry.
The second buff should always be in the best order, and if this
is the case, but little polish after the first need be used.
Much depends upon the last finish of the surface of the plate,
and as a fine impression is desired in the same ratio,
the operator must exercise care and skill in this operation.
Some buff the smaller plates on the hands, by resting them on
the fingers in such a manner that the buff cannot touch them;
some by holding the edges with thumb and little finger,
with the remaining fingers under, or on the back; and others buff
on the holder. When this last method is adopted, it requires
the greatest caution to prevent the dust from getting on the buff.
The holder should be wiped clean.
The plate frequently slips off or around, and the buff comes
in contact with the bed of the holder. When, however, the operator
is so unfortunate as to meet with this mishap, the utmost care
must be observed in thoroughly cleaning the buff cover before
further buffing. In this last buffing it may be continued as before,
except without the application of polish powder to the last buff.
Examine the surface occasionally, and buff more lightly towards
the close of the operation, using at last the mere weight of the buff.
This last buffing should occupy as long a time as the first.
The point to be aimed at is, the production of a surface of such exquisite
polish as to be itself invisible, like the surface of a mirror.
The secret of producing pictures discernible in any light, lies in this:
the more dark, deep and mirror-like the surface of the plate, the more
nearly do we approach to perfection.
The question is often asked, why is it that the plates receive the coating
so unevenly? I will answer by saying that it may arise from two causes:
the first and most general cause is that those parts of the plate's
surface which will receive the heaviest coating have been more
thoroughly polished, and the consequence is that it is more sensitive
to the chemical operation. second. and might perhaps be considered a part
of the first, the heat of the plate may not be equal in all its parts;
this may arise from the heat caused by the friction in buffing.
It is a well known fact, with which every observing practitioner
is familiar, that a silver plate at a temperature of 45 deg.
or less, exposed to the vapors of iodine, is less sensitive and takes
a longer time to coat, than when it is at a temperature of 60 deg.
or more.
I cannot see the objection to this solution; not, however, in general use.
Our operators do not find it of sufficient importance to the success
of their pictures to accept it, the alcoholic solution being in its
nature less objectionable.
I will say here, that a plate submitted to only an ordinary polish
is found to contain numberless minute particles of the powder
made use of. Should the same plate be buffed for a long time,
the polish will nearly all disappear, leaving the cavities
in the surface free for the action of agents employed in
subsequent operation. For this reason, I find that great amount
of polishing powder should not be applied to the last buff,
and it is obvious that three buffs can be employed to adventure;
the two last should not receive any polishing materials.
I have examined a plate that was considered to possess
a fine finish, and similar had produced good impressions;
these same plates, when subjected to a long and light buffing,
would present a surface no finer in appearance to the naked eye;
but upon exposure to the solar radiation, would produce
a well-defined image in one fourth less time than the plate
without the extra buffing.
The operator will proportion the coating of iodine and bromine or accelerators
according to the strength and composition of the latter.
I will here present some excellent remarks upon this subject by Mr. Finley.
This gentleman says:
"It is well known to all who have given much attention to the subject,
that an excess of iodine gives the light portions of objects with
peculiar strength and clearness, while the darker parts are retarded,
as it were, and not brought out by that length of exposure which
suffices for the former. Hence, statuary, monuments, and all objects
of like character, were remarkably well delineated by the original
process of Daguerre; the plate being coated with iodine alone.
An excess of bromine, to a certain degree, has the opposite effect;
the white portions of the impression appearing of a dull, leaden hue,
while those which should be black, or dark, appear quite light.
This being the case, I conclude there must be a point between the two
extremes where light and dark objects will be in photogenic equilibrium.
The great object, therefore, is to maintain, as nearly as possible,
a perfect balance between the two elements entering into union
to form the sensitive coating of the plate, in order that the lights
and shades be truly and faithfully represented, and that all objects,
whether light or dark, be made to appear so far conformable to nature,
as is consistent with the difference in the photogenic energy
of the different colored rays of light. It is this nicely-balanced
combination which ensures, in the highest degree, a union of the essential
qualities of a fine Daguerreotype, viz., clearness and strength,
with softness and purity of tone.
The iodine box should be kept clean and dry. The plate immediately
after the last buffing, should be placed over the iodine, and the coating
will depend upon the character of the tone of the impression desired.
Coating over dry iodine to an orange color, then over the accelerator,
to a light rose, and back over iodine one sixth as long as first coating,
will produce a fine, soft tone, and is the coating generally used for
most accelerators. The plate iodized to a dark orange yellow, or tinged
slightly with incipient rose color, coated over the accelerator to a deep
rose red, then back over iodine one-tenth as long as at first coating,
gives a clear, strong, bold, deep impression.
The plate once coated should be kept excluded from the light
by means of the plate holder for the camera box.
"It is well known that as often as bodies, when cold, are exposed
to a warmer air, the humidity contained in them is condensed.
It is to this effect that we must attribute the difficulty
experienced in operating in most cases." This is corroborated
by the results experienced by our operators. So it is seen that
the plate should be of a temperature above that of the atmosphere.
Mr. Gurney submits his plates to a gentle heat from a spirit
lamp just before exposing them to the vapor of iodine.
Experience has convinced me that a plate heated to about 80 deg.
before being exposed to iodine will present a far better
defined image than aplate at a temperature of 50 deg.
I account for this by noticing that, at a higher temperature,
the plate throws off any larger crystals that might otherwise
be deposited, receiving only the finer, thus producing
a more perfect chemical combination of iodide of silver.
I would call the attention of the operator to this point,
as presenting something of interest, and which may direct
in a way of accelerating the future operations.
"The experience of one who has often been Daguerreotyped, is, to let
the operator have his own way."
It should be the study of every operator to notice the effect of the lights
and shades while arranging the sitter, and at the same time be very particular
to give ease in the position.
I will here use the words of another, which are very true:
In regard to the proper elevation of the camera, it may be here stated that I
have found it best in taking portraits where the hands are introduced,
to place the camera at about equal height with the eyes of the sitter,
in order to bring the face and hands equi-distant from the tube.
It will be found, if the above be followed, that by attaching a string
to the camera tube, and making a semi-circle, that the face and hands
of the sitter will occupy a corresponding distance, and the consequence
is that the impression will appear without the hands being magnified.
It has been found that a person with a freckly face can have
as fine, fair, and clear an impression as the most perfect complexion;
this may be done by the subject rubbing the face until it is very red.
The effect is to lessen the contrast, by giving the freckles and skin
the same color and the photogenic intensity of the red and yellow being
nearly the same, an impression can be produced perfectly clear.
When a child is to be taken, and there are doubts of its keeping still,
the operation may be accelerated by placing it nearer the window bringing
the screen nearer, and placing a white muslin cloth over the head;
this will enable you to work in one third of the usual time.
Should the person move, or the plate become exposed to the light,
it may be restored to its original sensitiveness by placing it over
the quick, one or two seconds.
There has been little said by our professors upon the subject of
the position of the plates while exposed to the mercurial vapour.
Mr. Hunt, in referring to this subject, says: "Daguerre himself laid
much stress upon the necessity of exposing the plate to the mercury
at an angle of about 45 deg.. This, perhaps, is the most convenient
position as it enables the operator to view the plate distinctly,
and watch the development of the design; but beyond this, I am
satisfied there exists no real necessity for angular position.
Both horizontally and vertically, I have often produced equally
effective Daguerreotypes." I presume from the last sentence of Mr. Hunt,
that he has confined his experiments to the smaller sized plates.
Hence he may not have thought of the effect of the vertical exposure
of a large plate.
Among our principal professors, the beveltop will not be found in use
where the large plates are used. Should any one feel desirous
to test more minutely the effect produced by a bevel top bath,
I would suggest to them to place a frame, so constructed as to hold
three sixth size plates, and fit it to the top of the bath,
and so arrange it with openings that the plates may be placed,
one at the nearest point of the mercury, the second midway,
and the third to the greatest distance, and by placing the plates
over at one and the same time, the experimenter will be enabled
to judge if there exists a difference in the developing.
In speaking of the above, reference is had to baths to the ordinary
heights used by operators.
1 1/2 minute, coarse and spongy; shadows, muddy; drapery, dirty reddish brown.
2 1/4 minutes, soft; face, scarcely white; shadows, neutral; drapery, fine
dark brown linen somewhat blue.
There are numerous opinions among our operators in regard to the quantity
of mercury necessary for a bath. As regards this, I need only say,
similar results occur when two pounds or two ounces are used,
but the quantity generally employed is about a quarter of a pound.
I am of the opinion that one ounce will answer as well as a larger quantity.
I know of no better proof in favor of a small quantity than that
presented in the following incident. Several years since, an operator
(Mr. Senter, of Auburn, N.Y.) of my acquaintance, was requested to go
several miles to take a Daguerreotype portrait of a deceased person.
He packed up his apparatus and proceeded over a rough road for some
distance to the house where he was to take the portrait, and arranging
his apparatus, with all the expedition which the occasion required,
after having everything in usual order (as was supposed),
he proceeded and took some ten or twelve very superior impressions.
They were fine, clear, and well developed. After taking the number ordered,
he proceeded to repack his apparatus, and to his surprise, when he took
up the bottle he carried the mercury in, he found it still filled,
and none in the bath, except only such particles as had adhered to the sides,
after dusting and being jolted for several miles over the rough road.
From this it will be seen that a very little mercury will suffice to
develop fine proofs. I saw some of the impressions referred to above,
and they were certainly well developed, and very superior specimens
of our art.
Gilding, or Fixing the Image.--The next process to be given is that for fixing
the image on the plate. This is done by precipitating a thin film of gold
over the surface and is productive of the most brilliant effect when prepared
immediately after the plate has been washed with water after the application
of the hyposulphite solution, and before the plate has been allowed to dry.
When, however, the plate has been dried and allowed to stand for any time,
before gilding, the hyposulphite wash should be applied as at first,
in order to destroy any chemical coating that may have been formed on exposure
of the plate to the air. For gilding the larger plates, we have a gilding
stand so constructed that the plate can be put on a perfect level.
In practice, I prefer holding the plate with nippers, fastened at one corner.
Hold the plate in the same manner as in removing the coating;
pour on the gilding, newly filtered, until the surface is wholly covered,
and with the blaze of the spirit lamp, at least three inches high, apply it
to the back of the plate, moving it about, that the surface may be heated
with as much uniformity as possible. Continuing this operation, the surface
will generally become covered with small yellow bubbles which soon disappear,
leaving the image clear and distinct.
MISCELLANEOUS.
CHAPTER II.
To Purify Water.--Filter the water well, and then add about three drops
of nitric acid to the pint. This can be used as absolutely pure water,
but I would recommend the use of distilled water as preferable.
Sealing Wax for Bottles.--Melt together six parts rosin and one beeswax,
and add a small quantity of lampblack; or, if red is preferable,
add red lead. Common white wax is best, as most chemicals act
less upon it.
When you wish to use it, pour some into a plate, or any other vessel
of the same kind, sufficient to cover the proof; then, after having
added to it a drop of ammonia, immerse the plate in it as soon
as you take it out of the mercury-box, after having wiped its back
and edges, and agitate the mixture quickly from right to left,
so as to dissolve rapidly the coating of iodide of silver as usual.
As soon as the plate appears white, cease all rapid motion,
but continue to give it a slight undulating one; for if it were allowed
to remain still for only a few minutes, the proof would be clouded.
By little and little, the surface of the plate takes a yellow tint,
which darkens more and more, approaching to bistre. You stop therefore,
at the color you wish; and when the proof has been washed and dried,
in the manner previously explained, it will be found to be fixed,
without any stain, with a limpid surface, and an extraordinary warm tone.
If you were to augment the proportions of the ammonia or chloride
of gold, the operation would progress much quicker, but then the middle
of the proof would be always much clearer than towards the border.
The mixture may be used several times without being renewed.
It does not, however, give such a beautiful color to the impression
as when it is newly prepared. By communicating to the vessel containing
the solution a continual motion, the impression, when once immersed,
will be fixed. During that time, and while attending to anything else,
watch its color; and at the end of ten minutes or a quarter of an hour,
take it out of the bath and dry it.
Buff Dryer.--There are various methods for keeping buffs dry and free
from dust. Some place a sheet of iron against the wall at an angle
sufficient to put a lamp between it and the wall, and then let
the buff rest against the top of the sheet. By this method the buff
is for its full length close to the heated iron, and at the same time
exposed to the heated atmosphere and any dust that may be free.
I would recommend some arrangement by which the buff would be inclosed.
I have found the following to answer the purpose well, which is
a box of sheet iron twenty inches long, eight wide and five high,
with one end left open and the other closed; the cover is made
of the same material, with the edges bent over to go on and off.
There are several wires running through the centre of the sides,
which it is necessary to cover with cloth or paper to absorb
all the moisture that may be made by applying the heat,
and the buffs are put in and taken out at the open end.
In order that the heat may be as nearly uniform as possible, an iron
bar one inch wide, eighteen inches long and one half inch thick,
is so bent that the centre is one quarter inch from the bottom
of the box, and that at least two inches of each end come in contact
with the bottom; this being riveted on the bottom, and a lamp
with a small blaze applied to the centre of the bar of iron.
This will constitute one of the best and cheapest buff dryers in use.
It may be suspended from the wall by placing wires around it,
or it may stand upon legs. Perhaps a more convenient plan is to
place it under the workbench in a similar position to a drawer.
One precaution is necessary: when first heating the dryer,
apply but a very gentle heat. This will prevent an accumulation
of moisture, which would otherwise pass off in steam, coming in
contact with the buff, thus causing a dampness. Another caution:
never have the temperature of the air in the heater more than ten
degrees above that which surrounds it.
When wheels are used, they should be encased in a sheet iron or wood case.
All those made for our market are provided in this respect.
Rub the buff leather, holding the face down, with the sharp
edge of a pair of shears or a piece of glass. This brings
out any portion of the skin which may have become matted from
any moisture, and also takes out any substance imbedded in it,
and prevents it from scratching. Then, with a stiff brush,
rub the buff well, and it will be found to work well.
This same process employ on wheels and hand buffs every morning,
or oftener, as occasion requires.
Have a tin band about an inch wide made to fit close on the end
of the camera tube; place it on, and taking the tin containing
the glass, bring it to an angle of forty-five degrees with the tube,
extending nearly the whole length of the glass in front of the lenses;
lap the loose ends of the tin on each side of the tin rim,
and having your camera turned on the side to throw the view lengthwise,
arrange the exact angle by examining the image on the ground-glass. When
you have it exactly right, hold it while it is soldered fast to the band.
Take out your glass and stain the tin black, to prevent reflection.
CHEMICALS.
CHAPTER III.
BROMINE.
[page 74]
[page 75]
[page 76]
"Into a bottle of the capacity of about two ounces, pour thirty or forty drops
of bromine, the precise quantity not being of importance. Then add, grain
by grain, as much iodine as the bromine will dissolve till quite saturated.
This point is ascertained when some grains of the iodine remain undissolved.
They may remain in the bottle, as they will not interfere with the success
of the preparation.
"The bromide of iodine thus prepared, from its occupying so small a space,
can very easily be carried, but in this state it is much too concentrated
to be used. When it is to be employed, pour a small quantity,
say fifteen drops, by means of a dropping-tube, into a bottle
containing about half an ounce of filtered river water.
It will easily be understood that the bromide of iodine can be
used with a greater or less quantity of water without altering
the proportion which exists between the bromine and iodine."
This article forms a very good dry accelerator, and is by some persons
thought superior to all others, as it works with great uniformity,
and is less liable to scum the plate in coating at high temperatures,
or when the thermometer indicates a heat above 60 deg.
Again, should the impressioned plate be exposed too long over the vapor
of bromine, the impression would be rendered wholly insensitive to
the mercurial vapor. Hence this method is resorted to for restoring
the sensibility of the plate when there is reason to believe
that the impression would not be a desirable one; as, for example,
if a likeness of a child be wanted, and it had moved before the plate
had been sufficiently long exposed in the camera, the plate may be
restored to its original sensitiveness by re-coating over bromine,
as above, thus saving the time and labor of re-preparing the plate
for the chemicals.
IODINE.
[page 85]
or one grain to the gallon of water. Alcohol and ether dissolve it freely,
as does a solution of nitrate or hydrochlorate of ammonia and of iodides.
The density of solid iodine is 4.95; that of its vapor 8.716. It greatly
resembles chlorine and bromine in its combinations, but its affinities
are weaker. It does not destroy the majority of organic substances,
and vegetable colors generally resist its action. It combines
with several organic substances, imparting to them peculiar colors.
It colors the skin brown, but the stain soon disappears.
[page 86]
Experiments with Iodine.--Place a plate which bas been exposed in the camera
over the vapor of iodine for a very brief period, and it will present
the appearance of the impression having been solarized.
CHLORINE.
On the 4th of March, 1851, Neipce, St. Victor, a former partner of DAGUERRE,
announced that he had produced "all the colors by using a bath of bichloride
of copper, and that a similar phenomenon occurs with all salts of copper,
mixed with chlorine."
In all experiments with chlorine, care should be taken not to inhale the gas!
Water recently boiled will absorb, if cold, about twice its bulk
of chlorine gas, acquiring its color and characteristic properties.
The moist gas, exposed to a cold of 32 deg., yields beautiful yellow crystals,
which are a definite compound of one equivalent of chlorine and ten of water.
If these crystals are hermetically sealed up in a glass tube, they will,
on melting, exert such a pressure as to liquefy a portion of the gas,
which is distinctly seen as a yellow fluid, not miscible with the water
which is present. chlorine is one of the heaviest of the gases,
its density being 2.47, and 100 cubic inches weighing 76.5 grains.
Chloride of Calcium.--To one part of water add two parts of muriatic acid,
and add pieces of common chalk until effervescence ceases; then filter
through cotton cloth and evaporate it by placing it in all earthen
or porcelain dish, over a slow fire, to the consistency of a syrup.
When cooling, large prismatic crystals of chloride of calcium are formed.
These must be quickly dried by pressing between folds of blotting paper
and kept carefully excluded from the air, as it readily attracts hydrogen.
For most daguerreotype purposes, the syrup may be at once evaporated
to dryness. This is frequently placed in the iodine coating box
for the purpose of keeping the atmosphere dry. It is so easily made
that every operator can provide himself with it in a short time,
and at little expense.
To separate the two metals contained in the above solution from each other,
put some bright copper coins into the solution and set it aside in a warm
place for three or four days, occasionally giving it a circular motion.
The separated laminae are pure silver, which is to be digested with ammonia
until it ceases to be colored blue. The silver, after being washed and dried,
is again dissolved in nitric acid, and the liquid, diluted with water,
is kept as solution, of silver.
Either of the above solutions (the one of oxide of silver and copper,
and the pure silver solution) may be prepared for use by putting them
in a bottle, with a quantity of water, and adding common fine salt,
you obtain a white curdy precipitate of chloride of silver.
No matter how much salt is used, provided enough be added to throw
down all the chloride of silver. This solution should be well agitated
and then allowed to stand for a few minutes; thus the white precipitate
is in the bottom of the bottle. When the water has become clear,
pour it off with care, leaving the sediment behind, then add a fresh
quantity of clean water, shake, let settle, and pour off as before.
Repeat the same for several times, and the excess of salt will disappear,
leaving the white precipitate, which may be drained of the water
and dried in the dark, and kept free from light and air.
CYANIDE OF POTASSIUM.
"There is, however, a much better process by which this salt may
be formed, viz. by simply transmitting hydrocyanic acid through potassium.
Although the modes of making this acid are very numerous, there is but
one which is likely to be employed on a very large scale, and that is
its formation from the yellow ferrocyanate by means of sulphuric acid.
This process is performed as follows: any given weight of the yellow
salt is taken and dissolved in about five times its weight of water;
this is placed in a retort, or some such analogous vessel, to which is
then added a quantity of strong sulphuric acid, twice the weight of
the salt, and diluted with three or four times its quantity of water.
A pipe is carried from the neck of the retort to the receiving bottle,
which should be kept as cool as possible.
"Now for one word of advice to the tyro: Remember that you are working
with prussic acid; therefore, never conduct the process in a room,
the fumes being quite as poisonous as the solution of the acid itself;
moreover, have always a bottle of ammonia or chlorine by your side,
that should you have chanced to inhale more than is pleasant,
it will be instantly at hand to counteract any bad effects.
It is stated by Pereira, that a little sulphuric acid or hydroferrocyanic
acid passes to the outer vessel, but probably the amount would be of no
consequence for electro-metallurgy, otherwise, it might be as well to use
a Woulfe's apparatus, and discard the salt formed in the first vessel.
To the large manufacturer it may be worth considering whether some other
metallo-cyanuret, formed in a similar manner to the ferrocyanuret,
might not be more advantageously employed, because the residue
of the process last described contains a large quantity of cyanogen
which the acid is unable to set free.
"There are other modes of procuring prussic acid, besides the one which has
been so tediously described; but these are found to be more expensive.
The only one which I shall now notice is the process by which it is
obtained from bicyanide of mercury. The bicyanide of mercury itself
is formed when peroxide of mercury is digested with Prussian blue,
the peroxide of mercury abstracting the whole of the cyanogen from
the blue, and leaving the oxides of iron at the bottom of the vessel.
The solution may be evaporated to dryness, and one part of the salt
dissolved in six of water; one part of muriatic acid, sp. gr. 1.15, is
then added, and the solution distilled, when the whole of the hydrocyanic
acid passes over, and by being conducted into a solution of potassa,
as in the former process, forms cyanuret of potassium. This process,
though easier than the first described, is rather given as a resource under
peculiar circumstances than as one to be adopted by the large manufacturer.
The expense is the only objection, but in a small quantity this cannot
be a consideration.
"In giving this very rough outline of the general mode of forming salts,
the minutiae necessary for chemical work have altogether been avoided,
and those parts alone are entered upon which are more immediately
necessary for the electro metallurgist to know and practice for himself.
This will account for the long description of the cyanuret of potassium,
while the preparation of the equally important and even more used acids,
the sulphuric, muriatic, etc., commonly found in commerce,
are altogether neglected.
"In using solutions of cyanide of potassium, the workman should not immerse
his arms into them, otherwise it occasionally happens that the solution
produces very troublesome eruptions over the skin."
HYPOSULPHITE OF SODA.
"Mix one pound of finely pulverized carbonate of soda with ten ounces
of flowers of sulphur, and heat the mixture slowly in a porcelain dish till
the sulphur melts. Stir the fused mass, so as to expose all its parts
freely to the atmosphere, whereby it passes from the state of a sulphuret,
by the absorption of atmospheric oxygen, into that of a sulphite,
with the phenomenon of very slight incandescence. Dissolve in water,
filter the solution, and boil it immediately along with flowers of sulphur.
The filtered concentrated saline liquid will afford, on cooling, a large
quantity of pure and beautiful crystals of hyposulphite of soda."
Muriatic acid, from the fact of the presence of the chlorine, is used
in the Daguerreotype process for dissolving gold, and in combination
with various accelerators. Its presence can be detected by ammonia.
A strip of paper dipped in this and waved to and fro will emit
a thick white smoke if the acid vapor be in the atmosphere.
The ammonia neutralizes the acid fumes. By reversing the experiment we
can determine whether vapor of ammonia be in the air, and also deprive
these suffocating and dangerous gases of their injurious properties,
and remove them from the air. Every Daguerreotype operator should
be furnished with, at least, a six ounce bottle of aqua ammonia.
Its operation is very nearly the same on bromine and iodine vapor.
ACCELERATING SUBSTANCES.
The silver surface is first thoroughly cleaned and freed from all organic
matter, then exposed to vapor of iodine, producing an iodide of silver.
The plate upon which is this salt, is again exposed to the vapor of bromine,
forming a bromo-iodide of silver, a salt also.
In America, the words "Quick" and "Quick Stuff," are more generally used for
and instead of the more proper names, "Sensitives," or "Accelerators," etc.
As it has by use become common, I frequently use it in this work.
Use.--To one part of quick add six parts of water; coat to a light yellow
over the iodine, to a rose color over the quick, and recoat about one tenth.
The above coating may be increased or diminished, it matters not,
so that there is not too much, and the proper proportions are preserved.
Some add to the above a small quantity of magnesia, say about a teaspoonful
to the quart of liquid.
Take rain water one quart, add pulverized alum until it is a little sour
to the taste, and a small piece, say one half inch square, of magnesia.
Filter through paper, and add chloride of iodine one half ounce,
bromine sufficient to take it up, which is a little less than half an ounce.
DRY SENSITIVES.
Use.--Coat over the iodine to a rose red and then over this mixture
to a purple or slate; recoat over the first about one fourth as long
as first coating.
No. 2. Coat over iodine same as above, except recoat over the iodine
about one fourth to one half as long as first coating.
Dry Quick, No. 1.--Bromide of Lime and Starch.--The following
compound forms an excellent accelerator, and is used by many.
It is claimed for this preparation, that it will hold
the bromine longer than others where starch is not employed.
As regards this claim we do not think it can be substantiated.
Our experience in practice has led us to the conclusion
that there is no great difference as respects durability,
but there is some little difference as regards the tone
of the impressions produced by its use.
To one quart of hydrate of lime add one quart of finely pulverized starch.
To this mixture add bromine, until it assumes a deep yellow or pink color.
Use.--Coat over the iodine to a deep yellow, then over this quick
to a red color, recoat about one sixth of the time of first coating.
I will here again remark, that the exact color of the coating
is not essentially provided a proper proportion is preserved.
Dry Quick, No. 2.--Bromide of Lime and Magnesia.--To one quart of hydrate
of lime add one quart of magnesia, and mix them well together; add bromine
same as in preparing bromide of lime; coat the same as over dry quick No. 1.
This combination produces very uniform results, and is worked with much
success by beginners.
Use.--Coat over the iodine to a pink color, and then over the above to a red,
or just changing the color. It should be remembered that accelerators
containing chlorine do not admit of a great change of color of coating
on the plate.
The same combination may be made with lime, magnesia and other substances.
My attention was not called to this subject again for several years,
when I noticed an account of some similar experiments by F. A. P. Barnard
and Dr. W. H. Harrington, the latter of whom is now of the firm of Dobyns
& Harrington, of New Orleans.
Fill a two-ounce bottle quarter full of it, and then fill the bottle
with fine sand, which serves to preserve a low temperature;
then place the bottle in a porous cup, same as used in the battery;
fill this also with sand, and close the end with plaster of Paris.
Place this in a coating-box, and it will be found to act with great
uniformity and be quite permanent.
CHAPTER IV.
[page 133]
[amdg_1.gif]
[page 134]
[amdg_2.gif]
The various points of the solar spectrum are represented in the order
in which they occur between A, and B, this exhibits the limits of the
Newtonian spectrum, corresponding with Fig. 1. Sir John Herschel and Seebeck
have shown that there exists, beyond the violet, a faint violet light,
or rather a lavender to b, to which gradually becomes colorless;
similarly, red light exists beyond the assigned limits of the red ray to a.
The greatest amount of actinic power is shown at E opposite the violet;
hence this color "exerts" the greatest amount of influence in the formation
of the photographic image.
(Blue paper and blue color have been somewhat extensively used by
our Daguerreotype operators in their operating rooms and skylights,
in order to facilitate the operation in the camera. I fancy, however,
that this plan cannot be productive of as much good as thought by some,
from the fact, that the light falling upon the subject, and then reflected
into the camera, is, coming through colorless glass, not affected
by such rays as may be reflected from the walls of the operating room;
and even if it were so, I conceive that it would be injurious,
by destroying the harmony of shadows which might otherwise occur.)
The greatest amount of white light is at C; the yellow contains less
of the chemical power than any other portion of the solar spectrum.
It has been found that the most intense heat is at the extreme red, b.
[amdg_3.gif]
is 25, that of the calorific spectrum will be 42.10, and of the chemical
spectrum 55.10. Such a series of circles may well be used to represent
a beam from the sun, which may be regarded as an atom of Light,
surrounded with an invisible atmosphere of Heat, and another still
more extended, which possesses the remarkable property of producing
chemical and molecular change.
[amdg_4.gif]
When a ray of light passes from one medium to another, and through that into
the first again, if the two refractions be equal, and in opposite directions,
no sensible effect will be produced.
[amdg_5.gif]
[amdg_8a.gif]
The lines A B C represent parallel rays which pass through the lens,
D D, and meet at F; this point being the principal focus,
its distance from the lens is called the focal length.
Those rays of light which are traversing a parallel course,
when they enter the lens are brought to a focus nearer
the lens than others. Hence the difficulty the operator
sometimes experiences by not being able to "obtain a focus,"
when he wishes to secure a picture of some very distant objects;
he does not get his ground glass near enough to the lenses.
Again, the rays from an object near by may be termed diverging rays.
This will be better comprehended by reference to Fig.
9, where it will be seen that the dotted lines, representing
[amdg_9.gif]
parallel rays, meet nearer the lenses than those from the point A. The
closer the object is to the lenses, the greater will be the divergence.
This rule is applicable to copying. Did we wish to copy a 1/6
size Daguerreotype on a l/l6 size plate, we should place it in
such a position to the lenses at A that the focus would be at F,
where the image would be represented at about the proper size.
Now, if we should wish to copy the 1/6 size picture, and produce
another of exactly the same dimensions, we have only to bring it
nearer to the lenses, so that the lens D E shall be equi-distant from
the picture and the focus, i. e. from A to B. The reason of this is,
that the distance of the picture from the lens, in the last copy,
is less than the other, and the divergence has increased, throwing,
the focus further from the lens."
[amdg_10.gif]
[amdg_11.gif]
Now, as has been said before, the dissimilar rays having an unequal degree
of refrangibility, it will be impossible to obtain a focus by the light
passing through a double-convex lens without its being fringed with color.
Its effect will be readily understood by reference to the accompanying cut.
[amdg_8b.gif]
M. Soliel has proposed the use of the chloride of silver to determine the time
required to produce a good impression on the iodated plate in the camera.
His method is to fix at the bottom of a tube, blackened within, a piece
of card, on which chloride of silver, mixed with gum or dextrine, is spread.
The tube thus disposed is turned from the side of the object of which we wish
to take the image, and the time that the chloride of silver takes to become
of a greyish slate color will be the time required for the light of the camera
to produce a good effect on the iodated silver.
The style of battery best for the purpose has been, and now is,
a question of dispute among operators; some preferring the Daniell
battery to Smee's. Some claim the superiority of the first from its
uniformity of action; others, of the latter, for its strength.
I consider either good, and for the inexperienced would prefer the Daniell.
This is more simple in its construction, while it has certainty in action.
The more skillful electrotyper would prefer Smee's, and this is the one
most generally in use. I would remark that the plan of galvanizing plates
should be followed by every operator, and when once thoroughly tested,
no one will abandon it.
SILVERING SOLUTION.
This solution is now ready for the plate-cup. Enough water may be
added to cover any sized plate when held perpendicular in the cup.
The strength of the solution may be kept up by occasionally
adding the chloride of silver and cyanide of potassium.
There should alway be a very little excess of the cyanide.
The plate should be well cleaned and buffed, and the solution
well stirred before it is immersed. Care should be
observed to keep the solution clean, and allow no particle
of dust to come in contact with the surface of the plate.
The plate is now to be attached to the pole of the battery.
MANAGEMENT OF CHEMICALS.
Take one or two ounces of this chemical, heat it in the drying bath,
or in a hot stove, to perfect dryness; place it in a small glass toy dish,
or large watch crystal, and set it in the centre of your iodine box.
Take this out and heat to dryness every morning. Adopt this process,
and with your mercury at a high temperature, you will never be troubled
with blue pictures.
Young operators are apt to impute all want of success in operating to
their chemicals, even though the cause is quite as likely to be elsewhere.
Failure is quite likely to occur from dampness in the buffs, or in the polish;
it is therefore necessary to be constantly on the guard in this quarter.
With a view to this, always scrape your buffs with a dull knife,
or with one blade of your shears, the first thing in the morning,
and after brushing them thoroughly, dry them, either in the sun, by a stove,
or in the buff-dryer. It is equally important that the polish and the brush
should be kept dry.
Want of success may arise from vapors of iodine or bromine in the camera box,
mercury bath, or even in the buffs. It is incredible how small
a quantity of these vapors will affect the effect of light when coming
in contact with the plate, after or during the exposure in the camera.
It is therefore necessary to be cautious not to mix chemicals,
nor open your boxes or bottles in your room, but take them out to do it.
Never hurry the operation through from lack of confidence in the result.
The fact of anything being out of order, forms no excuse for slighting
the process. If unsuccessful, do not pursue the same course every trial,
but vary with a view to detect the cause of the difficulty.
5. Are the buff s dry and clean? Examine the plate critically
after buffing to detect any appearance of scum or film on
the surface. If so, the longer you buff the more it shows.
Scrape and dry the buffs thoroughly.
6. Is the mercury free from scum and dirt? If not, filter.
Is it also far enough from the coating boxes? Should be at least
three feet, and kept covered.
9. Are the tablets in focus with the ground-glass? If you can attribute
the failure to none of these, mix a new box of some other kind of quick,
say the dry, for instance. If you fail in the same manner here,
take time, wash your buffs, overhaul all the chemicals, and start anew.
Do not be discouraged.
There is no day so dark but that the sun will shine again.
We will close with this brief summary of advice:
Clean your plates. Keep everything dry. Keep the mercury hot.
Follow these instructions carefully, and you must succeed.
Keep the camera and mercury-bath perfectly free from the vapors
of iodine and bromine; for the presence of the slightest degree
of either of the above will injure the impression in no small degree.
As a preventive, let the camera be exposed to the sun or fire
for a few minutes in the morning.
Filter your mercury often, to keep the surface free from film and dust.
The direct rays of light must not enter the camera in conjunction
with those reflected from the object; or the picture will be veiled,
and the color of the plate changed to a thick green.
Your iodine will be found to operate more successfully, when the time
required for coating the plate does not fall short of fifteen seconds,
or exceed one minute.
Too quick coating can be avoided by using less iodine in your box.
In the summer months, when the weather is 80 deg. and over,
one quarter of an ounce, or even less, will work to advantage.
ELECTROTYPING.
"By a little judgment and care the operator will be enabled to produce
the electrotype copy of the Daguerreotype plate without any difficulty.
The electrotype copy should be immediately put under a glass and sealed
in the same manner as the ordinary Daguerreotype."
CRAYON DAGUERREOTYPES.
ILLUMINATED DAGUERREOTYPES.
This process is also patented, and the remarks on the preceding subject
will apply in this case. The plate is prepared and exposed as in the
usual method of the Daguerreotype. A white back-ground is employed.
Let the head of the sitter come in the middle of the plate, and before
exposing it to the vapors of mercury, put a small mat or diaphragm,
having a small hole through it, over or directly on the surface of the plate.
This diaphragm should be bevelled, and the bevel should be towards the surface
of the plate; this, in order to prevent too sharp a line on the impression.
It will be readily seen that if an impressioned plate so covered is placed
over the mercury, it will be developed on such portions only as are exposed.
The principle is so familiar that further explanations are unnecessary.
"From the fact that the plate if prepared with positive electricity gives
a positive picture, while it prepared otherwise it gives a negative,
it is evident that electricity plays an important part in this process.
The same is true to some extent with the compounds formed
with iodine, bromine. and fluorine.
"On heating the plate, the brown coating of chloride melts into a translucent
enamel, and the heat should be withdrawn when a cherry-red color is produced.
It the heat is continued longer, the plate assumes a lighter color,
and becomes less sensitive; and the enamel will finally scale off.
To produce a picture by the ordinary process of M. Neipce, unaccelerated, it
should be exposed for from three to five hours to sunlight in the camera,
though pictures may be procured by contact, in from fifteen to thirty minutes."
DEPOSIT IN GILDING.
The following is from Humphrey's Journal, vol. 5, and from the pen
of Dr. WM. HARRINGTON, one of the most able writers upon the subject
of the Daguerreotype in this country:
THE CAUSE OF THE DIFFICULTY THAT SOMETIMES OCCURS TO PREVENT THE
PRODUCTION OF A CLEAR IMPRESSION UPON A DAGUERREOTYPE PLATE.
Bodies may be colder than the atmosphere and yet derive no moisture from it;
while at the same time the driest atmosphere is not devoid of moisture,
but will part with it under certain conditions.
This part of the subject, however, is left entirely for the ingenuity
of the operator. No matter by hat means he accomplishes the object;
all that is required is to heat the plate above the temperature of
the atmosphere and retain that heat during the process of polishing.
From this wide difference in the results of the two operators using
identically the same article, it is but reasonable to conclude
that the complaint is founded in error; while the inference
is no more than just, that the fault may be traced to a want
of practical skill on the part of the complaining operator himself;
rather than to the inferior quality of the plates.
The question, then, whether the plates are unfit for use,
or whether those who pronounce them so understand
how to use them, appears to be satisfactorily answered.
It therefore becomes a matter worthy of investigation,
to ascertain what superior judgment and skill one operator
possesses over another which enable him to work successfully
a quality of plate, pronounced by the other entirely useless.
CHAPTER VI.
[page 192]
g.--The plate resting upon the ledge., * *, and kept against the
frame by the spring h. The plates used were about 3/8 of an inch
square.
A.--The window with the sashes removed.
[amdg_12.gif]
[page 193]
kept up to the required position by the handle lever, upright post and bolts.
Reflector B was hinged at its upper end at the top of the window frame,
the only motion being necessary was that which would reflect upon the sitter
the incident rays from reflector C--the reflector B being kept at the required
angle by the connecting lever m, etc. Suitable back-grounds were placed
behind the sitter.
The reflector B and C, had frequently to be renewed, the heat of the sun
soon destroying their brilliance or power of reflecting, light,
before renewing them, however, we resorted to the springing of them,
by which means their power was increased for a period.
Early in February, 1840, Mr. Johnson, Sen., (since deceased) sailed for
Europe with a few specimen likenesses taken with the instruments
completed as above, with the intention of patenting the invention.
On his arrival a joint arrangement was effected with Mr. Richard Beard,
of London, in patenting and working the invention in England.
Up to February, 1840, but few friends had been made acquainted
with the progress of the art in the hands of Mr. Wolcott and myself.
From time to time reports reached us from various sources
of the success of others, and specimens of landscapes,
etc., were exhibited at Dr. James R. Chilton's laboratory,
in Broadway, much to the gratification of the numerous visitors
and anxious expectants for this most wonderful discovery.
Dr. Chilton, Professor J. J. Mapes, Professor J. W. Draper.
Professor S. F. B. Morse, all of this city; Mr. Cornelius,
Dr. Goddard and others of Philadelphia; Mr. Southworth,
Professor Plumbe, and numerous others were early in the field;
all, however, using the same description of camera as that of Daguerre,
with modification for light, either by enlargement by lens
and aperture for light, or by shortening the focal distance.
From this time much interest was manifested by our friends in our progress.
Rooms were obtained in the Granite Buildings, corner of Broadway
and Chambers street, and fitted for business. The rooms being small,
it was soon found impracticable to use the arrangement of looking-glass,
as previously spoken of; a new plan became necessary, to introduce which,
the sashes were removed,
[page 199]
[amdg_13.gif]
[page 200]
This metal was cut to the desired size, and having a pair of "hand rolls"
at hand, each plate, with its silvered side placed next to the highly
polished surface of a steel die, was passed and repassed through the rolls
many times, by which process a very smooth, perfect surface was obtained.
The plates were then annealed, and a number of plates thus prepared
were fastened to the bottom of a box a few inches deep a foot wide,
and eighteen inches long; this box was placed upon a table and attached
to a rod connected to the face plate of a lathe, a few inches from
its centre, so as to give the box a reciprocating motion. A quantity
of emery was now strewn over the plates, and the lathe set in motion.
The action produced wag a friction or rubbing of the emery over the surface
of the plates.
When continued for some time, a greyish polish was the result.
Linseed, when used in the same manner, gave us better hope
of success, and the next step resorted to was to build
a wheel and suspend it after the manner of a grindstone.
The plates being secured to the inner side of the wheel or case,
and as this case revolved, the seeds would constantly keep to
the lower level, and their sliding over the surface of the plates
would polish or burnish their surfaces. This, with the former,
was soon abandoned; rounded shots of silver placed in the same
wheel were found not to perform the polishing so well as linseed.
Buff-wheels of leather with rotten-stone and oil, proved to be far
superior to all other contrivances; and, subsequently, at the suggestion
of Professor Draper, velvet was used in lieu of buff leather,
and soon superseded all other substances, both for lathe and
hand-buffs, and I would add, for the benefit of new beginners
that those who are familiar with its use, prefer cotton velvet.
The only requisite necessary is, that the buffs made of cotton
velvet should be kept dry and warm.
About the same time, Mr. John Goddard, of London (who was associated
with myself), discovered a rather valuable combination of chemicals,
consisting of a mixture of iodine, bromine, iodus, and iodic acid,
and a proper combination of those bodies gave an action somewhat
more sensitive than chloride of iodine--but the "high lights"
of the portraits would become solarized or overdone, more frequently
with this combination than with the chloride of iodine.
Throughout the year 1841, I used, with great success, chloride of iodine,
applied as one coating--occasionally in conjunction with Mr. Wolcott,
attempting the use of iodine, bromine, and chlorine, and at times
with more or less success. The difficulty of exactly combining,
the three elements above mentioned, in order to produce a certainty
of result with harmony of effect, was the work of many months,
with great labor and study, the slightest modification requiring
a long, series of practical experiments, a single change consuming,
frequently, an entire day in instituting comparisons, etc., etc.
This Journal is published once every two weeks, and contains all
the improvements relating to the Art, and is the only American
Journal whose editor is practically acquainted with the process
for producing Daguerreotypes, Ambrotypes, and Photographs.
The first No. of Vol. X. is dated May 1st, 1858. The terms
(Two Dollars per annum) are trifling compared with the vast
amount of information furnished.
Many are the letters we have received during the term of the last volume,
in which the writer has stated that a single number of Humphrey's Journal has
contained information of more value to him than "several times the amount
paid for the entire volume."
Our resources have grown up around us, and our facilities for procuring,
as well as distributing, all such facts and improvements as will benefit
as well as instruct all who have the progress of the Art at heart,
are as ample as they can well be made.
"It treats the subject knowingly and with force."--New York Tribune.
"We cannot too strongly urge all artists, and those persons
who feel an interest in the Heliographic Arts and Sciences,
to take a copy of the work."--Sentinel.
"This Art is entitled to its own organ, which could not have fallen into
better hands than those of the editor of 'Humphrey's Journal.'"--Transcript.
"Humphrey's Journal has been the means of saving much time and money,
for by its instruction I have been enabled to produce some of the finest
Paper Pictures I have ever seen." W. P.
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This Edition contains all the Improvements in the Art made public
up to the day of publication, and gives complete Practical
Instructions for making Collodion Positives or Ambrotypes,
Collodion Negatives, Printing, etc., etc. The quick, great and
unprecedented sale of the first and second editions demonstrates,
more than the strongest language could possibly do,
the extraordinary and increasing popularity of this work.
The Third Edition contains two hundred and sixteen 12mo.
pages, of a larger size and in smaller type than either
of the preceding editions, and is illustrated with numerous
wood-cuts. It is intended to be the best practical work extant;
substantially bound in cloth, price One Dollar; forwarded by mail
(postage prepaid). Address
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and all subjected to the most thorough test before being offered for sale.
VIEW CAMERAS, made expressly for taking views: an entirely new article.
SOLE AGENTS FOR THE Patent solid glass corner Plate Holders.
All orders will receive prompt attention, and be forwarded with dispatch.
MANUFACTURER OF
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CASES,
Embracing many Fancy Styles made only by themselves, and to which they
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Of all sizes, with Riveted Hinges.
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A MANUAL of
PHOTOGRAPHIC CHEMISTRY,
BY
T. FREDERICK HARDWICH,
Last Edition,
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